Tina Friesen

After a long break, I’ve returned to the editing process of my novel, From a Distance. Some of my readers have been with me from early days and I am extremely grateful to you for your patience. As writers, we know this is a complex process that involves many different components, not the least of which is believing in the value of our story.

For awhile I took a side-trip into journalism and almost gave up on my novel. I questioned whether I am actually a novelist. What caused me to return to it now?

I simply decided to apply the most basic truth about writing, namely, the butt in the chair principle. No amount of talent can compensate for time spent refining the craft. I simply said to myself that I am not going to give up without doing the hard work.

After I doing everything I know to do…I will see what progress I have made.

So, this is the beginning of the process. After doing everything I know to do, after spending a year, with an average of two hours of writing on my novel a day, I will see what progress I have made. I’m not allowing myself to quit this time.

I think I have found a new faith and grace to write. It happened after I watched a movie last night. The main character reminded me of my main character and her challenge was similar to my character. I began to feel like I had a worthwhile story to tell. This is what every author needs.

I spent about four hours editing my first chapter and I thought it sounded pretty good, so I called my husband into the room. He is turning into my editor, support, and critique group, all rolled into one. I didn’t get halfway down the first page before he was correcting me.

“You have too many pronouns. Who is “her” and “she”? The reader is being taken out of the action.”

I looked at my paragraph and it was indeed filled with pronouns. It was an easy correction to make, but I missed it on my own. I began to see how badly I needed another set of eyes.

A little while later he commented, “I like that. I like what you did there.”

Good. I thought that part was done well, too, and I really appreciated that he noticed. My reader was in the action, feeling what my character was feeling.

Before long I had another pronoun issue but then we ran into something bigger. Too much telling, not enough showing. I’ve had this critique before. It is a critique that most, if not all, new writers get.

I was sharing back-story. I had too much back story, another very common mistake. You can really only afford to have a couple of sentences of back story in your first chapter. I shortened the paragraph and tried it again.

“It’s probably alright to “tell” when it’s backstory,” my husband said.

He is the reader, I acknowledged. I need to pay attention to how he feels when he is reading my story. If he thinks the amount of telling I did was alright, then it’s probably OK.

I was beginning to see how these little adjustments were making a big difference.

But his next critique was more difficult to digest. He didn’t like several paragraphs describing what was going on in the setting, and highlighting the scenery.

“What’s the point?”

In other words he was asking, Who cares? Long ago a critique partner did some serious damage with the same question, because, after all, I care. I care a lot. Everything I’ve written affects my character’s experience and the development of her story. I’ve tried to get my reader to enter into my character’s world.

Evidently there is a more effective way to do this.

I swallowed and took the critique in stride.

It’s not uncommon for writers to burst into tears or experience something near tears when their laborious efforts are effectively trashed. We are supposed to develop a thick skin, supposedly. It’s not what most sensitive writers have. But we can have an open mind, which is probably just as good.

Parts of my writing distracted the reader from the main story, which my husband saw clearly. I didn’t want that to happen, did I? So, how could I correct this?

I felt troubled. Should I just delete these segments? Delete part of them? Shorten them? Combine them?

We had reached the end of the chapter and I returned to editing.

I did all of the above. I cut my chapter from 1800 words to 1200 words and ended with the main part of the story as the focus.

An hour later my husband kindly listened to another reading.

“That’s great. You did it.” He was almost emotional. “You’ve got a hook, now.”

The hook is the all important thing readers need from a first chapter. It is the thing that makes them want to read the next chapter.

In the first chapter a writer has to accomplish the task of making the reader feel invested in the character. They want to know what happens next to her. This is not as easy as it sounds.

Needless to say, I was encouraged. But now I am looking at the rest of my book and asking, Who cares? What’s the point?